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274 PAGAN TRIBES OF BORNEO chap.<br />

alone. <strong>The</strong> same design appears two or three times on the<br />

arms, and even on the breast, though this part <strong>of</strong> the body<br />

as well as the shoulders is more usually decorated with<br />

several stars and rosettes. <strong>The</strong> backs <strong>of</strong> the hands are<br />

tatued, quite irrespective <strong>of</strong> bravery or experience in<br />

warfare ; in fact we have frequently had occasion to note<br />

that a man with tatued hands is a wastrel or a conceited<br />

braggart, <strong>of</strong> no account with Europeans or with his own<br />

people. This wild and irresponsible system <strong>of</strong> tatu has<br />

been accompanied by an inevitable degradation <strong>of</strong> the<br />

designs. <strong>The</strong>re is a considerable body <strong>of</strong> evidence to<br />

show that the Sea Dayaks have borrowed much in their<br />

Fig. 75.<br />

Fig. 76.<br />

arts and crafts from <strong>tribes</strong> who have been longer established<br />

in <strong>Borneo</strong> ; but it must be confessed that in their decorative<br />

art they have <strong>of</strong>ten improved upon their models ; their<br />

bamboo carvings and their woven cloth are indeed " things<br />

<strong>of</strong> beauty." But their tatu involves, not an intelligent<br />

elaboration <strong>of</strong> the models, but a simplification and degrada-<br />

tion, or at best an elaboration without significance. Figs. 1-6,<br />

PI. 137, are examples <strong>of</strong> the Sea Dayaks tuang asu or<br />

dog design. <strong>The</strong> figures show the dog design run mad,<br />

and it is idle to attempt to interpret them, since in every<br />

case the artists have given their individual fancies free<br />

play. When the pr<strong>of</strong>ession <strong>of</strong> the tatu-artist is hereditary,<br />

and when the practice has for its object the

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